EX­AM­PLE Solo 1: BRAD Pais­ley StYle

Cd track 48

Guitar Techniques - - LEARNING ZONE -

[Bars 1-4] We begin with some A Mixoly­dian mode ac­tion (A-B-C#-D-E-F#-G). The coun­try twist here is to re­place all the notes that are pos­si­ble with open strings, al­low­ing each note to bleed through to cre­ate a harp or pedal-steel like colour ful ring­ing ef­fect. As with much of the ma­te­rial pre­sented here, the best way to ap­proach string cross­ings is with a com­bi­na­tion of pick and sec­ond or third fin­gers through­out and don’t be afraid to re­ally pluck at the strings for ex­tra snap, crackle and pop. [Bars 5-8] More pick and fin­gers ‘hy­brid-pick­ing’ here. The com­bi­na­tion of mute and cluck in bar 7 is achieved by palm mut­ing the notes on the fifth string while twang­ing the note on the third string with the sec­ond fin­ger. [Bars 9-12] We bring our first solo to a con­clu­sion with the com­bi­na­tion of some rapid A Blues scale fin­ger work (R-b3-4-b5-6-b7) and chro­matic ‘sonic shape’ tricker y - which lit­er­ally means shift­ing the ex­act same mo­tific idea down and across the fret­board one fret at a time un­til reach­ing a suit­able mu­si­cal res­o­lu­tion in bar 13. From a pick­ing per­spec­tive, I’d sug­gest a re­peated pat­tern of pick, sec­ond and third fin­gers here.

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